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As "A Quiet Place: Day One" gets ready to open in theaters on June 28, 2024, the quiet will return. This critically acclaimed "A Quiet Place" prequel will reveal the beginnings of a world in which sound portends disaster and silence means surviving.The Beginning of the EndImage from Paramount PicturesImagine New York City, the world's loudest city, being abruptly thrown into a silent apocalypse. We are transported back to the terrifying early stages of the alien invasion in "A Quiet Place: Day One." The movie deviates from the well-known Abbott family tale and presents us to fresh people surviving the horrifying events of the first day of the invasion.Image from Paramount PicturesThe protagonists have to quickly adjust to a new reality where making noise can be their final mistake as anarchy breaks out. The movie aims to investigate the extent of human tenacity and the innate desire to shield close ones from an imperceptible and noiseless danger.A Story of SurvivalImage from Paramount PicturesThe story centers on the experience of the day the world became silent, providing a novel interpretation of the circumstances leading up to humanity's silent struggle for existence. "A Quiet Place: Day One" is a gripping tale of creatures that hunt by sound, filled with intense tension and profound emotion. It also serves as a powerful example of the human spirit's unwavering resolve to endure in the face of insurmountable adversity.Image from Paramount PicturesPrepare for the QuietMore than just a prequel, "A Quiet Place: Day One" takes you to the source of the quiet and terror that began it all. The excitement is growing for what promises to be a gripping cinematic experience as the days before its premiere draw near.Source: Paramount PicturesIf you're interested in animation and visual effects, you might want to check out Fox Renderfarm - the leading cloud rendering services provider and render farm in the CG industry. Fox Renderfarm has provided cloud rendering services to countless visual effects and animation studios, allowing them to get the best quality results in the shortest time. A $25 free trial is available to let you speed up the rendering of your 3D projects.

Brooklyn Digital Foundry is a full-service creative agency renowned for its cutting-edge work spanning across a wide range of industries. Their exceptional talent and innovative approach have recently earned them the title of "Viz Pro of the Year" at the highly acclaimed CGarchitect 3D Awards with their work "Williamsburg Condominiums". Fox Renderfarm as the industry's top cloud rendering service provider and leading render farm is honored to interview John Szot, who is one of the founding partners and creative directors at Brooklyn Digital Foundry. Let’s uncover the secrets behind their success through this in-depth interview.Fox Renderfarm: Hi John! Thank you so much for accepting our interview! Could you please introduce your team to our readers?John: I am one of the founding partners and creative directors at Brooklyn Digital Foundry, which is a full-service creative agency. We work on various projects in various industries doing interactive architectural visualization, product visualization, video production, communications consulting, and campaign management. We have a team of 11 people, half of whom work on our computer graphics-oriented projects. We worked with fashion houses, architects, real estate developers, and non-profit institutions. Fox Renderfarm: Congratulations on winning the CGarchitect 3D Awards’ "Viz Pro of the Year" category! How does your team feel about it?John: We’re stoked! We had the good fortune of winning a CG award in 2012, and CGarchitect has provided a tremendous amount of inspiration throughout the years for our studio. Many of the newest things going on in visualization are happening in real time on that platform. You have access to a lot of very talented people who are deeply dedicated to what they do. To be recognized within that forum is a tremendous honor.Fox Renderfarm: What significance does the name "Brooklyn Digital Foundry" hold, and how does it represent the essence of your work in digital visualization?John: The name of the studio comes from a deep-seated interest in the palpable quality of digital media. It's always been our belief that digital media has a timber and a texture of its own which doesn't necessarily fit into words. We attempted to communicate our commitment to that idea through this name which is also meant to locate us in a very specific place. We believe that our physical surroundings play a significant role in shaping creative output. Brooklyn, where the founding partners, including myself, were deeply inspired to establish the company and pursue a distinct aesthetic vision, holds a special place in our hearts. Since then, our company has grown to many more people and we have a much more diverse set of voices.Brooklyn SolarWorks © Brooklyn Digital FoundryFox Renderfarm: Could you give us a brief overview of your work "Williamsburg Condominiums" and the inspiration behind it? John: Much of our inspiration comes from the conversations we have with our clients. Our job is to absorb and understand our client's values and then project them into the media that we produce, so in a certain sense we have to be transparent. We spend a lot of time trying to understand where our client is coming from in order to make sure that the work we produce feels authentic. The client, in this case, came to us with the need to sell real estate. The building is located in a very inspiring place in New York City, so we want to showcase the beauty of the city as an important offering that comes along with the ownership of the building featured in the image. Our first move was to grant both subjects equal prominence within the image frame so that it is as much about the beauty of the New York City skyline as it is about the beauty of the building.Williamsburg Condominiums © Brooklyn Digital FoundryFox Renderfarm: What were the key design elements in your project, and how did they contribute to the overall aesthetic?John: I'd say the key design elements in this project are the compositional nature of the subject, and finding a way to harmonize that with other elements in the frame so that the subject feels like a part of its environment, which is very important from an architectural point of view. Yet at the same time, has the clear individuality that we need to bestow on our subject so that the material can do its job as part of a sales pitch. That’s essentially the fundamentals that we adhere to to maintain the authenticity of our work.Fox Renderfarm: Can you tell us about the pipeline of your work?John: It is a common practice in architectural visualization for many professionals to start with a model, often created in Rhino or occasionally in 3D Studio Max. In this case, we were provided with a Revit model to work on. The typical workflow involves transferring the model to 3D Studio Max for applying materials and performing lighting studies using V-Ray. Lighting is usually prioritized at the beginning to establish the overall space in the image, followed by the application of materials. This is mainly because it's much more challenging to establish a sense of space through materials than it is with light. That is usually the proper hierarchical approach to maintain a powerful composition in the final product. Once we are done with rendering the necessary passes in V-Ray, we bring those into After Effects and balance them out properly, doing the necessary color correction. There might be some work in Photoshop if there are post-production effects that we need, but we try very hard to do everything on camera because we get the most accurate lighting effects through this technique. Painterly type effects lead to a painterly type of interpretation, and in most cases, we're going for something that has the correct perspectival math and light balance that mimics physical reality.Fox Renderfarm: During the process of creation, were there any instances that brought joy? Additionally, which experience stands out as the most unforgettable?John: I'll mention something in the larger picture that I believe any CG artist can resonate with. That is the moment in which the information that comes out of the rendering engine finally gets put together in the post-production stage. You're then given the opportunity to hone those layers of information to bring the stimulated material reality into sharp focus. That moment which happens pretty much on every project is very special from my point of view because it’s the culmination of many small and complicated steps. The satisfaction that comes from that moment when you finally can collect the data and bring it into focus is sacred to me.Fox Renderfarm: How has your approach to architectural visualization evolved over the years?John: One of the things that has been a huge game changer is the quality of the professionals on our team. We have built our team very slowly over many years, by now the people that I work with have been working with us for many additional years. Their skills and dedication to the job continue to be the cornerstone of how we move forward. It's also that curiosity and dedication they bring to the table that essentially catalyzes the evolution of our craft in-house, so they deserve a ton of credit for making sure that the studio stays healthy and continues to evolve technically and creatively. Our work goes from rather punky attempts at telling a story to some of the most vivid examples of CG artistry that I can think of. I am regularly humbled by their ability to push that envelope with every project. Every time we complete a project I noticed a new level of nuance and commitment to developing a higher degree of fidelity and palpability to our work. I'm looking forward to the future, especially with some of the recent algorithmic tools that can produce high-fidelity material on such a rapid basis, I can't wait to see where our team takes that. Fannie Mae HQ © Brooklyn Digital FoundryFox Renderfarm: How does your team stay updated with the latest tools and technologies in the CG industry?John: CGarchitect has played a big role in that! But spending time online and interacting with other professionals is pretty critical. A little conversation at the corner of the industry could shed light on what we’re doing. I know that the team that I work with spends an enormous amount of time thinking about the technology outside of the deadlines that we have in the studio. As a result, when we do find ourselves on deadlines, we usually have several fresh ideas that might change the project in a way that makes it unexpectedly rich. How do they do that? I think it just comes from their innate tenacity and enthusiasm for the technology. I think you really have to possess that if you're going to compete in CG visualization.Fox Renderfarm: Have you ever used the render farm services offered by Fox Renderfarm? If yes, what are your thoughts on Fox Renderfarm's cloud rendering offerings? John: We are familiar with your company! Winning this award has helped us learn more about the services that your company offers. Sadly we have not worked with your company before, but this is the perfect opportunity to do so. We are on deadline at the moment so a render farm plays a critical role in making sure that deadlines are met. There have been times in the past when we have gone to third-party services to provide the necessary computing power to meet a deadline. Now that we are in touch with Fox Renderfarm, I look forward to seeing how your services assist us and turn our projects to the next level.Fox Renderfarm: What advice would your team give to aspiring professionals in the CG field?John: When we we started the business, architects were just getting familiar with computers and the idea that somebody would make a video to promote an architectural idea was a rather farfetched notion. We began making videos about architecture in 1999 when we had our first major architectural video commission. Although it wasn't a huge commission in the larger scheme, but it marked a pivotal moment as it was our first engagement with a client for video production services. The collaboration led to the creation of our very first viral architectural video. After that video, we launched our studio’s production unit, and we found ourselves getting a lot of work after that. That wouldn't have happened if we hadn't been experimenting with technology before meeting this client. Our approach enabled us to be prepared to offer the services our clients sought when opportunities arose. So my advice to people getting started in the visualization industry is to identify what excites you about technology and allow your creativity to drive exploration and utilization of these tools. Avoid letting concerns about marketability dictate your experimentation; instead, focus on honing a clear vision with the tools at your disposal, as market success will naturally follow.Thanks again to John for accepting our interview! Wishing new heights in your professional career!Brooklyn Digital Foundry’s social media:Website: https://brooklynfoundry.com/Facebook: https://www.facebook.com/brooklyndigitalfoundryTwitter: https://twitter.com/brooklynfoundryInstagram: https://www.instagram.com/brooklynfoundry/Dribble: https://dribbble.com/brooklynfoundryLinkedin: https://www.linkedin.com/company/brooklyn-foundry

In the world of CG art, there are individuals who not only create stunning visuals but also weave compelling narratives through their work. Liad Damhuis, a 28-year-old digital artist from The Netherlands, is one such individual. Liad's artistic journey began at a young age, her love for movies and games, and the way they conveyed stories through various artistic mediums, ignited a spark within her. Recently, Liad's talent and hard work were recognized as she clinched 3rd place in Bad Normals' Worlds Inside Glass Challenge.In an exclusive interview with Fox Renderfarm, the industry's top cloud rendering and leading render farm service provider, Liad shares her insights, experiences, and the driving force behind her creative endeavors. Join us as we delve into the mind of this remarkable artist, unraveling the stories and inspirations that fuel her imaginative creations.Fox Renderfarm: Hi Liad! Thank you so much for accepting our interview! Please introduce yourself to our readers.Liad: My name is Liad Damhuis, I am a 28-year-old digital artist from The Netherlands. I’ve been drawing forever, and my teachers and peers always describe me as the "artist kid". Growing up I loved movies and games. I loved how they could tell stories through cinematography, music, and world-building. This inspired me to go and draw digitally to become a concept artist, however, after I graduated I ended up pursuing a career as a 3D artist, and 3 years later I am also looking into graphic design jobs. In general, I love being creative, it's my passion.Fox Renderfarm: Congratulations on winning 3rd place in Bad Normals's Worlds Inside Glass Challenge! How do you feel about it?Liad: Thank you! Honestly, it was quite a surprise because there were some really good artworks and it was my first time participating in a challenge by Bad Normals so I had no idea what to expect. I totally forgot the top 5 could even win prizes because I was more focused on whether I could make an image that could convey the story I came up with, and if others could see it too. But winning the plugin and credits for render farm definitely motivated me to create more projects. Fox Renderfarm: How did you capture and recreate the spirit and memories of loved ones in designing the 3D visuals for Memorby?Liad: Once I came up with this idea of a deceased loved one I wrote down everything that I could think of in such a scenario. How do people grieve, what do they keep from this person, and what memories are their favorites. Specifically, the last thing that inspired me to make a personalized heaven orb. I thought of what type of person or people we see and what's their relationship. I picked a hobby or personality that was easy to show visually in both the background and inside the orb. Someone who loves painting might leave behind artwork to show in the background... but I wouldn't necessarily know what his or her forever home would be within that interest. So I picked hiking, the outdoors. I could reflect it in the orb with a bit of nature and the typical a-frame house, the books in the background, the pictures, and the hiking boots. I broke it apart just a little by adding in a baby Yoda too.Background Objects © LiadFox Renderfarm: In this artwork, the scene in the light ball looks very vivid, does a real memory of yours inspire it?Liad: It wasn't necessarily inspired by something I've experienced myself. The idea came to be after brainstorming about many different ideas and I got hyped about this one once I asked myself questions about how it'll work, what we see, and what can I do with it. But I do believe it reflects the way I personally think about memories and death. I do not believe in an afterlife or a place you'd go to, which is kind of a scary thought. What is nothingness then? People like to think that this person is in a better place, people spread ashes in places that remind them of that person. So I do find it a nice thought that your loved one could be somewhere where they'll be happy forever. I know that my dad would like a little house by the lake in Sweden, reading books and tinkering in his car. I know that I'd love to have an endless flower field with a small beach, feeling the soft sand between my toes and when the sun is a little too hot I can get in to cool down, or below a big tree and hear the leaves in the wind. I sometimes wish I could make the memories of my grandparents into a video so I won't forget their likes and dislikes, their quirks, and the sound of their voices. So I can imagine that a Memorby can be something extra to remember your loved one and feel as if they're truly in their forever happiness.Fox Renderfarm: Could you please tell us about your pipeline for this work? And how long did it take you?Liad: Certainly! It started with a mind map to generate as many ideas as possible. At first, I was skeptical about joining because I wasn't too excited about the first ideas like a season change portal or global warming inside an orb. I felt that I couldn't do much with storytelling in the details. I almost did a Black Mirror type of Tamagotchi idea where some rich kid doesn't realize, or maybe does, that the person living inside the orb house is a real person stuck in there. But because it wasn't an animation project, I struggled with showing this idea.Mind Map © LiadShifting gears, I considered a narrative where a less privileged child glimpses a life of luxury or experiences the harsh reality of war. I thought of him seeing his killed parents but felt it was too much and maybe becoming political. So it turned into a woman losing her fiance due to a war. I started making the scene, knowing I wanted a dresser with candles in the back, a picture, and maybe a TV on a news channel. Then I added in some details to really make it feel like home and all. Let's say this woman sends memories to this company to make the orb 2 weeks after he passed away... it might take another 2 or maybe a month to make and ship it, "why would a news channel still cover the incident?" I almost ended up putting bandaids on that plot hole when I thought... "why does it matter how he died? Why not focus on the memory?" That's when I changed his interest to the outdoors and also picked the right house inside the orb and made a whole package design for the object. Framing © LiadI made a quick house to put inside the orb 3 times. The first one was too sci-fi, it would take away the attention, and people would question the reason why it looked like that inside this story... when I made the second one it still felt sci-fi which was ok because the orb itself was a sci-fi idea.. yet the house felt more realistic. But when I got the idea for an outdoor personality I knew an A-frame would fit the narrative more. I couldn't tell you the exact hours because I was working on it on and off. Let's say an average of 5 hours per day for 2 weeks.House Design © LiadFox Renderfarm: There are many details in this scene, how did you decide which elements were important and needed to be highlighted?Liad: To really narrow down again after all those ideas and details, it's about a woman who bought a Memorby of her deceased lover. Ok, and this Memorby shows what about this person? He loved the outdoors, so anything else could be distracting. As I said before, I first wanted to explain the cause of death and then decided to focus instead on this memory. You know he's dead because of the pictures in the back, the candles, the flowers, the cards, the woman crying and her kissing the orb. Her relationship with his personality, his memory, is more important than what killed him. I added a baby Yoda in his hiking boot too just to kind of break up all the elements talking about his love for the outdoors. He has more interests than that obviously. I gave the woman a ring too so it's more believable that they were in a relationship than it is some random guy or perhaps a friend or brother. A ring, a kiss, those memories, pictures together, those are the storytelling ingredients you need to explain their relationship.Memorby Product © LiadBackground Details © LiadFox Renderfarm: The female character in the image conveys strong emotions, how did you capture and render these expressions?Liad: The company I've worked for used Character Creator 4, and just before I got laid off in December I downloaded their default character in case I need a character or a base very quickly when I don't have time to make something from scratch. These characters come with blend shapes and they were perfect to use with motion capture. Unfortunately, I don't have a suit myself, so I had to manually set the values of the blend shapes. Plus I added some red on the base color texture around the eyes, nose, maybe cheeks a bit, and the eyeballs. And I've also lowered the roughness there to give the impression of crying.Character Creation © LiadFox Renderfarm: What were the biggest technical challenges you faced while working on this project, and how did you overcome them?Liad: The biggest technical challenges... I actually didn't struggle a lot with this. It took me some time to get the woman in the right pose and also make her sit as the horizon wouldn't work if she was standing, but overall I didn't struggle technically. I think because my idea didn't come across things I've never done before, or because it wasn't an animation.Fox Renderfarm: Are there any moments you enjoyed during the creation process? And what was the most memorable?Liad: Actually it was the moment I went from "meh, not sure if I'm excited to spend 2 weeks on this challenge for just a season change" to "...o my god, someone's dead, you give them an eternal home, and I'm going present it like an actual product from a company with package design and all, that's a pretty cool idea?!" It was the hype I got from ideas that popped up, and as I tried to plot hole-proof them I only got more excited if I knew a way to dodge it.Fox Renderfarm: How do you envision the role of art in providing comfort to individuals, as demonstrated by Memorby's slogan "Their Spark In Your Darkness"?Liad: That's an interesting question, I got inspired by this Facebook graveyard thing and AI. I wouldn't be surprised if this would ever be a thing though. If you think about it... you can give AI a prompt and pretend to be a certain person. How to behave, what they like, to their little quirks. It can create real-life pictures of humans even when they don't exist, and this time you'd have an entire album of your person. If you want them to talk, send in a voice memo and you'll hear them talk or sing whatever. Next time AI could learn their movements from videos, make a 3D avatar... and voila, the environment is just 3D. Maybe there are a few interactive points, and you can have this very product in real life. Maybe even very comforting, the idea that this person didn't just disappear but is eternally home.In general, I think lots of people would like to keep a visual memory of someone, whether it is a picture, something they owned, or even ashes made into an art piece. It sounds weird but I do get it. My mom is getting a tattoo for my late grandmother even though I never expected her to, it just changed things. I personally love looking at old pictures of family members that even go back generations who were lucky to be wealthy enough to have them made. Wondering what their lives were around my age, and how they expected their futures to be. When looking at my childhood pictures I see all the people that cared for me when I was just existing and not knowing anything. So to me, visuals are very important.Fox Renderfarm: Have you tried or heard about Fox Renderfarm’s services before? What is your impression of our cloud rendering services?Liad: I've heard of render farms before, just not specifically the one from Fox Renderfarm. I think it could be very useful to render faster if you don't have the specs or to keep working on your PC while the render farm is in the process of rendering. I've actually bought a new laptop recently which can do quite some rendering, but I'll definitely use my coupon for upcoming projects. I want to challenge myself by doing lots more in 3D and then utilize a render farm for it.Fox Renderfarm: What did you learn from this project and how will it impact your future 3D art creations?Liad: I've learned to really prioritize. Give yourself time to come up with an idea and work it out in a block or in a sketch, write down what you need at a minimum to get this done. Only when the bigger elements are done, you can dive into details. Just in case you run out of time to do these details... At least the bigger picture is there. Liad’s Social Media:Instagram: https://www.instagram.com/bulletproof_eggs/YouTube: https://www.youtube.com/@BulletproofEggs28Blender Library credits:Rug: "Persian Carpet by BlenderKit Community"Table lamp: "Table Lamp by MNDV"One of the flowers: "Flower Jug-02 by Jhon Maycon" but changed the color and vaseProduct box: "Paper box template by Vilém Duha" but own made Memorby textureSketchfab assets:Yoda plush: "Baby Yoda Plush by Nom" Hiking boot: "Hiking Boots LOWPOLY by EFX"Other assets were self-made, either from scratch or from older projects. Exception for 2 or 3 landscaping assets of which unfortunately I don’t have the credits as they’ve been made/downloaded by ex-colleagues in the past and I’ve saved them for future purposes. So I can’t verify the original artist.

With the introduction of Marvelous Designer 2024, Marvelous Designer, who has long been at the forefront of digital apparel design, cemented their leadership in the field. The most recent version adds a number of elements to the fashion designer's arsenal that are not only enhancements but game-changing innovations.Harnessing the Power of WindImage from Marvelous DesignerThe incorporation of Multiple Wind Controllers in fabric simulations brings them to life. Now that intricate wind scenarios can be created, clothing can flutter and flow with a level of realism never before possible for designers.Capture the MomentImage from Marvelous DesignerIt's now easier than ever to showcase your designs in motion with the new Video Capture tool. Take direct videos of animations from the 3D window and publish your dynamic works online.Soft Body Simulation: The Touch of RealismImage from Marvelous DesignerThe Soft Body Simulation by Marvelous Designer opens up new possibilities for how clothing and body interact. The flexibility of the skin now influences how clothes hang and move, providing a previously unachievable level of realism.Seamless Avatar IntegrationImage from Marvelous DesignerFor those who deal with custom models, the Auto Convert to Avatar tool is revolutionary. Every avatar you bring into Marvelous Designer is prepared for action thanks to this tool, which expedites the process.EveryWear: The Future of Digital GarmentsImage from Marvelous DesignerThe EveryWear toolset is a throwback to a time when fashion transcends the material world. Its purpose is to optimize clothing for digital environments, so your creations will be prepared for the metaverse, the next big thing in fashion.LiveSync with Unreal EngineImage from Marvelous DesignerMarvelous Designer LiveSync for Unreal Engine is evidence of the program's dedication to usability and integration. This live link allows for a smooth transition to Unreal Editor by bridging the gap between design and deployment.Puckering: The Devil’s in the DetailsImage from Marvelous DesignerLastly, the ability to produce puckering enables designers to incorporate the crucial tiny wrinkles that lend authenticity and character to ensembles.After being released on February 29, 2024, Marvelous Designer 2024 is obviously a leap into the future of digital fashion creation rather than merely a step in the right direction.As a leading cloud rendering and render farm service provider in the CG industry, Fox Renderfarm is now offering a free $25 trial to all new registrants, so let's start rendering!Source: CLO Virtual Fashion

Rémi Arquier founded Unfold3D in 2003, a pioneer in commercial UV mapping technology. In 2016, he launched Rizom-Lab and the RizomUV product line, focusing on speed and ease of use. The team's goal is to create the perfect UV mapping toolset through collaboration with clients and users. Rizom-Lab offers 2 standalone applications which are RizomUV Virtual Spaces and RizomUV Real Spaces, and integrative solution RizomUV C++ Library for software companies. Fox Renderfarm, as the industry's top cloud rendering and render farm service provider, is honored to interview the Rizom-Lab team. Join us in this interview to learn more about Rizom-Lab and its innovative products.Fox Renderfarm: Hey guys! Can you give our users an overview of Rizom-Lab’s products and key features?Rémi: At Rizom-Lab, we specialize in developing cutting-edge software solutions for 3D mapping and unwrapping. Our flagship product is RizomUV, a powerful set of tools designed to streamline the UV mapping process for 3D artists. © Rizom-LabKey features include:Efficient UV Unwrapping: RizomUV offers advanced algorithms for efficient and accurate UV unwrapping, allowing artists to easily attain UVs with minimal distortion, very quickly.Optimized Packing: RizomUV includes tools for optimizing UV space, ensuring efficient use of texture space, and organizing islands where the artist needs them.Collaboration and Compatibility: We understand the importance of collaboration in creative projects. RizomUV supports various file formats (USD, FBX, OBJ, etc…), enhancing compatibility in a workflow, and facilitating smooth collaboration among team members.Real-Time Visualisation: Users can visualize their UV maps in multiple ways, making it easier to identify and address any issues during the mapping process.Automatic unwrapping: A semi and fully-automatic tool to generate seams, unwrap, and pack in a single click.© Rizom-LabRizomUV comes in two flavors, so to speak, Virtual Spaces and Real Space. Virtual Spaces is aimed at people who are creating 3D objects that will end up in a virtual environment, think game engines, and rendering. Real Space, on the other hand, is for people who want to bring their 3D objects or UV templates into the real world. Good examples of this would be printing or laser cutting. As you can imagine, this requires real-world coordinates and accurate size, which is why Real Space has a 1:1 scale relationship between 3D and UV space.Fox Renderfarm: How does Rizom-Lab differentiate itself from competitors in the UV mapping software market, and what makes it a preferred choice for 3D artists and well-known studios?Samuel: I think we distinguish ourselves through a combination of our software’s advanced features, and a commitment to providing solutions that meet the evolving needs of not only established 3D artists and studios but also those that are just starting their journey. One area we are particularly proud of is our indie pricing. We have always tried to be fair in this regard, and refrain from putting up barriers to people that are just starting out, or trying to learn. This is demonstrated beautifully by our free licenses for students.As for what makes RizomUV a preferred choice? Put simply, I’d say it’s performance and speed, facilitated by tools that are both powerful and accessible, that artists actually need.Fox Renderfarm: RizomUV is known for its ultra-fast processing speed. Could you elaborate on the technology or innovations that enable this remarkable speed, and how it enhances the workflow of 3D professionals?Rémi: Absolutely! The exceptional speed of RizomUV is primarily due to 3 key factors: First, our algorithms. We've continually refined key algorithms, including Unfold, Optimise, Pack, and Auto Seams, to enhance speed, quality, and versatility. We have been working on these advanced subjects since 2004, with our earlier versions even integrated into the most renowned DCCs (Digital Content Creation tools). Today, we offer even more advanced capabilities in our standalone version, and we are still working on them for the next versions.© Rizom-LabSecondly, the UI design is crucial. We tailored RizomUV specifically for UV mapping, making it more than just an add-on or subset feature of a DCC toolset. It's a dedicated solution for UV mapping, and its specialization is evident upon first use. This is achieved by seamlessly integrating both 3D and UV space, optimizing the transition of geometry from 3D to UV. A key example is how isolating an island in the 3D view automatically isolates it in the UV view, and vice versa. This simple detail, among many others, sets us apart.Lastly, the feature set significantly contributes to the efficiency of our software. While automatic features provide rapid results, crafting high-quality UVs, particularly for gaming applications, requires pixel-perfect precision and effortless control over coordinates. This often necessitates manual intervention. In this context, RizomUV is comparable to Illustrator, but for UV mapping. It features an extensive range of tools for alignment, flipping, fitting, and distribution, all meticulously tailored for UV mapping requirements. Beyond this, we offer unique and visually stunning real-time tools to visualize and select elements according to their texel density, orientation, distortion, and more.The combination of these technologies and optimizations not only makes RizomUV one of the fastest UV mapping solutions on the market but also significantly enhances the overall workflow for 3D professionals. Artists can accomplish more in less time, iterate quickly on their designs, and maintain a smooth and productive creative process from start to finish.Fox Renderfarm: Can you tell us about any recent developments or updates in the software that users in the 3D industry should be excited about?Samuel: I can’t say too much before the release as things are still changing, but what I can say is that one big feature is going to make a lot of game artists very happy. We are developing a set of tools in an area that is completely new to RizomUV, and will definitely make the application more complete. I can also tell you, that the look and feel of the application is shifting too. This is in order to facilitate a better user experience and to give us a solid foundation to add feature additions, without RizomUV becoming cluttered. It’s very exciting stuff!© Rizom-LabFox Renderfarm: How do you manage digital marketing and communication strategies to reach your audience and maintain a vibrant community?Samuel: When it comes to letting people know a new RizomUV release is out, or we have a sale in progress, social media and publishing campaigns are invaluable in this regard. But when it comes to communicating something about the software itself, I’m a big believer in the visual approach. This is why we are building up a library of tutorial videos and playlists. It is much easier for someone to understand an abstract concept if they can see it being played out, as opposed to a wall of text. We also speak to our users directly through our support system, and through our Discord server which is a really great place to speak, share work, images, and videos, and generally help each other out. It feels very natural and informal.Fox Renderfarm: Rizom-Lab places a strong emphasis on its relationship with the community. Can you share some insights into the kind of feedback received from the community, and how this relationship influenced the ongoing development and improvement of the software?Samuel: Speaking to our users, Discord community, and studio artists is invaluable, and dare I say, crucial. We learn a lot about what artists need, and inversely what they don’t. They also give us good lessons in broad generalized psychology. I know that may sound strange, but when you have lots of people asking the same questions about a tool, or it’s expected behaviour, it really helps us shine a light on something we may not have considered.We also have a BETA Team that is entirely comprised of community members. This ranges from studio artists, educators, developers, and 3D generalists. They get access to new releases first and help us tweak things and squash bugs before wider releases. They are a fantastic and enthusiastic bunch! Fox Renderfarm: Lastly, can you share the future plans and upcoming initiatives?Rémi: Yes, I can. We are currently reworking our website, in an effort to make things flow better and generally be more user-friendly. It’s also getting an upgraded look, so it will be easier on the eye. We are also putting a lot of consideration and thought into the automatic tools in RizomUV. Not only do we want them to be better, but also more understandable from a user perspective. In a more general sense, we are adopting a “less is more” philosophy with RizomUV. We want to strip out the unnecessary while streamlining and optimizing what is needed for a more concise, and faster user experience.© Rizom-LabRizom-Lab’s Social Media:Website: https://www.rizom-lab.com/Discord: https://discord.com/invite/UjsFx7YFacebook: https://www.facebook.com/groups/rizomUV/Twitter: https://twitter.com/rizomuvInstagram: https://www.instagram.com/rizom_uv/YouTube: https://www.youtube.com/@RizomUV

Fox Renderfarm, a leading cloud rendering service provider in the 3D industry, is thrilled to announce its participation in the prestigious Annecy International Animation Film Festival, set to take place from June 9th to 15th, 2024. As the animation industry’s most esteemed event, the Annecy Festival brings together the brightest minds in animation, setting a melting pot of innovation and creativity in the animation industry.30-Day countdown! Fox Renderfarm will showcase at the Mifa market from June 11 to 14 with on-site booth E.08!Date of Mifa: June 11 to 14, 2024Fox Renderfarm booth: E.08BOOK A MEETING WITH USEmpowering Creativity with Advanced Render FarmFox Renderfarm is a leading render farm in the industry, providing TPN-Accredited CPU/GPU cloud rendering services with 24/7 technical support. Since its operation in 2011, it has served more than 400,000 users and leading visual effects companies, animation, architectural visualization, and game development studios from over 100 countries/regions, including many multiple-award winners.Fox Renderfarm assists you in enhancing your productivity with massive physical render-node clusters and extensive support of multiple CG software and plugins. The featured customers' works include Mr. Hublot, Three Robots(Love Death + Robots: Season 1, Episode 2), Monster, Oni: Thunder God's Tale, The Wandering Earth I&II, etc.Testimonials from our clientsConnect with Us at MifaWe invite all 3D artists, animators, and industry professionals to visit our booth at the Mifa exhibition. We are willing to learn more about your impressive projects and explore collaborative and partnership opportunities.BOOK A MEETING WITH USAn Overview of the Annecy Festival 2024 Official SelectionLearn more about Annecy Festival 2024 & Mifa: https://www.annecyfestival.com

The recently released Unreal Engine 5.4 is revolutionary for developers in all fields. This release includes significant rendering improvements, an expanded virtual production toolset, enhanced developer iteration, and improvements to both in-editor and gameplay animation capabilities. Here are a few of the prominent features.Enhanced Character AnimationImage from Epic GamesCharacter animation has always been an area of expertise for Unreal Engine, but version 5.4 elevates the game significantly. Many feature upgrades and major tool enhancements have made character animation more powerful and intuitive than before.Nanite and LumenImage from Epic GamesNanite's return of tessellation makes possible previously unattainable detail and geometry. As it develops, Lumen—the completely dynamic global illumination solution—offers designers and artists instant input both in the editor and during gameplay.Improved RenderingUnreal Engine 5.4 also brings significant rendering enhancements. In order to perform numerous tasks at once, Epic Games modified the system, which led to faster operation. Furthermore, to support hardware Ray Tracing, UE5.4 features enhanced shader compilation and GPU instance culling.Procedural Content Generation & Cloud ToolsImage from Epic GamesProcedural content generation is another capability that has been enhanced in Unreal Engine 5.4. The ability to create large-scale, dynamic environments is now easier thanks to sophisticated procedural content generation. Developers can now manage their projects more flexibly thanks to new processes that simplify asset management and communication provided by the cloud capabilities included in this upgrade.Motion Graphics ModeImage from Epic GamesUnreal Engine 5.4 now has a new feature called Motion Graphics. In this mode, developers have access to additional tools and settings that will aid them in producing visually stunning and dynamic motion graphics.In conclusion, Unreal Engine 5.4 is a significant release that includes a ton of new features and improvements. It proves how committed Epic Games is to extending the boundaries of what is possible in the game development industry. From beginners to pros, Unreal Engine 5.4 has something to offer every kind of developer.As a leading cloud rendering service provider and render farm, Fox Renderfarm also supports Unreal Engine rendering. Fox Renderfarm is now offering a free $25 trial to all new registrants, so let's start rendering!Source: Epic Games, Inc.

'Mufasa: The Lion King' is a new CGI animation produced by Walt Disney Pictures and Pastel Productions, as both a prequel and sequel to The Lion King (The 2019 adaptation of the 1994 version). It is directed by Barry Jenkins and written by Jeff Nathanson, featuring the voices of Aaron Pierre, Kelvin Harrison Jr., Tiffany Boone, Kagiso Lediga, Preston Nyman, and Mads Mikkelsen, among others.Image from DisneyThe film tells the story of Mufasa, a young lion who is lost and lonely until he meets Taka, a compassionate lion who is heir to a royal lineage and they embark on a journey full of threats.Check out the trailer here:In theaters this December 20, don't miss out on this legend.Source: Walt Disney StudiosIf you're interested in animation and visual effects, you might want to check out Fox Renderfarm - the leading cloud rendering services provider and render farm in the CG industry. Fox Renderfarm has provided cloud rendering services to countless visual effects and animation studios, allowing them to get the best quality results in the shortest time. A $25 free trial is available to let you speed up the rendering of your 3D projects.

In the world of 3D artistry, Diego Nossa stands out as a visionary creator whose work transcends boundaries and captivates audiences. Recently, Diego clinched 1st place in polygoniq’s Dreamscapes Challenge, showcasing his exceptional talent and creativity. As an artist with a background in advertising, Diego's expertise spans various artistic fields.In an interview with Fox Renderfarm, a leading cloud rendering services provider and render farm in the industry, Diego shared the inspiration behind his winning artwork and the creative process that brought his wife's dream to life.Fox Renderfarm: Hi Diego! Thank you so much for accepting our interview! Please introduce yourself to our readers.Diego: Hello! I’m Diego Nossa and I’m a multimedia artist. I’ve worked in the advertising industry, creating multimedia campaigns and content for brands and designers. I focus on photography, 3D, animation, video editing, and visual effects.© DiegoFox Renderfarm: Congratulations on winning 1st place in the Dreamscapes Challenge! What does this accomplishment mean to you as a creator?Diego: Thank you! Winning 1st place is incredibly exciting and indicates that my message resonated well. Beyond the victory, I'm thrilled about the opportunity to participate and learn new skills during this challenge. Engaging in community challenges is always a rewarding experience as it allows me to grow and refine my abilities.Fox Renderfarm: It is so cool that you used a real dream as your inspiration! What inspired you to choose that particular dream to bring to life?Diego: I owe credit to my wife, not only for inspiring the dream sequence but also for suggesting it as a perfect fit for this challenge. When I mentioned the need to incorporate a car into the sequence, she immediately recalled her dream and suggested, 'Why not recreate that scene where I was in a race, hopped into a car, and ended up at the dentist?' It was perfect for the challenge!Car Previs © DiegoCar Final and without Post-process © DiegoFox Renderfarm: Can you share the specific content of your wife's dream and how you recreated this dream in your artwork?Diego: In her dream, she found herself in a race, swiftly transitioning to a car where her seat reclined back, and then seamlessly transitioning to a new scene at a dentist appointment. To recreate this, I added a few creative elements not present in her dream, such as a rotating cube inspired by Mario Kart games to illustrate the origin of the car better. Additionally, I introduced an alarm cue, 'It's time for your appointment', providing further context for the reclining seat transition.Character Previs © DiegoCharacter Final and without Post-process © DiegoFox Renderfarm: How did you portray a sudden transition from one scene to a completely different one so smoothly in your artwork?Diego: For this transition, I ensured that the first scene ended with the camera positioned at a dark angle, creating a fade-out effect. Then, just as the viewer assumes the dream sequence has concluded, a light illuminates, signaling the transition to a completely new scene.Fox Renderfarm: Could you please tell us about your pipeline for this work? And how long did it take you?Diego: Once I knew what I wanted to create, I started blocking out the scene in Blender. I figured out the angles and the animations first. Then I exported a pre-visualization to check that the animations were smooth. Once I was happy, I started adding lighting while texturing the scene properly. I usually like to render the entire scene at a very low resolution to check if everything is working properly. Once everything looks good, I then render the scene at full resolution. I worked on the project for multiple days across 2 or 3 weeks but from beginning to end including rendering time, it probably took me about 30 hours or more.Dentist Previs © DiegoDentist Final and without Post-process © DiegoFox Renderfarm: Can you tell us more about the software and resources you used, such as polygoniq for the car and grass, and Mixamo for the characters? How did these tools enhance your ability to bring this dream to life?Diego: I designed and rendered the scene in Blender. I used characters and animations from Mixamo since I didn’t want to spend much time on characters, and just made a few tweaks to the animations to adjust to what I wanted. The ground/grass, and car are from polygoniq and they made the entire scene look a lot better with just a few clicks. The clothing animation uncovering the car was made in Marvelous Designer, it could have been done in Blender but I find good clothing simulations in MD being a lot easier and faster to make. The post-production (color grading, editing, lens artifacts) was made in After Effects and this helped me to portray the dreamish look I wanted in the final result.Character Animation © DiegoClothing Animation © DiegoFox Renderfarm: What challenges did you face in translating a dream into a visual representation? How did you overcome them?Diego: One of the main challenges I faced was creating a seamless transition between the race scene and the dentist scene. It was crucial to convey to the viewer that the first sequence depicted a race, while the second depicted a visit to the dentist. To achieve this, I introduced additional elements such as characters preparing for the race and a countdown timer. In the dentist scene, I included the sound of an alarm with the message, 'It's time for your appointment', to provide context and enhance the viewer's understanding. Despite the surreal nature of the dream, my goal was to ensure that the viewer could easily grasp the settings and storyline.Fox Renderfarm: Are there any moments you enjoyed during the creation process? And what was the most memorable?Diego: The creative freedom with 3D designs is truly exhilarating, allowing me to bring imagination to life in unprecedented ways, reminiscent of the limitless dreamscapes portrayed in the film Inception. However, what makes this project truly special is the inspiration provided by my wife. Her dream sparked the idea for this challenge, making her an integral part of my creative journey and creating a cherished memory.Fox Renderfarm: Where do you typically find inspiration for your work - do you look to other artists or everyday surroundings? How do these sources of inspiration influence your creations?Diego: My main inspiration comes from movies and music mainly. Exploring museums and galleries also plays a significant role in my inspiration process. Seeing diverse artworks ignites fresh ideas and perspectives, enriching my own creativity.Fox Renderfarm: Have you tried or heard about Fox Renderfarm’s cloud rendering services before? If so, what is your impression of our services?Diego: I heard about multiple render farm services but I haven’t tried it before.Fox Renderfarm: What advice would you give to aspiring artists or creators who are interested in participating in future challenges or competitions like Dreamscapes?Diego: Patience is key. Take your time to craft your submission, allowing for periods of reflection when time allows. I see many rush into submitting their entries the same day the challenges are announced. Also sharing the project with others around you can spark new ideas and perspectives. Remember, the true value lies in the learning experience, regardless of the outcome.Diego’s Social Media:Instagram: https://www.instagram.com/nossa3d/Twitter: https://twitter.com/nossa_cameraWebsite: https://nossa.camera/

Take a riveting trip into the world of dreams as we reveal the artistic talent of Lynx095, the imaginative creator of the enthralling animation "Dream Journey." This gifted artist, who was recently named the Community Winner in Polygoniq's "Dreamscapes Challenge," is an expert at creating fantastical settings that defy reason but capture the imagination. Lynx095 creates a visual tapestry that defies traditional storytelling by skillfully fusing parts of reality, childhood memories, and the infinite reaches of the dreamscape. She has a remarkable eye for detail and a deep understanding of the subconscious mind.As the leading cloud rendering service provider and render farm in the CG industry, Fox Renderfarm is glad to have the opportunity to sponsor this challenge. Join us as we delve into the mind of this remarkable artist, unraveling the creative process behind their award-winning work and exploring the depths of their artistic vision.Fox Renderfarm: Hi, Lynx095! Thank you so much for accepting our interview! Could you please introduce yourself to our readers?Lynx095: I think that the most important thing I can say about myself is that I’ve always been a very creative person. As a child, I was enrolled in an after-school art program, where I learned drawing, painting, sculpting, and photography. Later in high school, I switched my focus completely to fiction writing. But I didn’t manage to finish any of my stories because as I’ve gotten older I’ve realized that the Ideas I had as a 15 or 16-year-old were simply bad. Currently, I work as a website and e-shop manager for a small company, but sometimes I also do video editing and graphic design as a part of my job. About a year and a half ago I started learning 3D modeling in Blender, though my progress is very slow as I don’t have a lot of time to focus on this hobby, due to also having other hobbies and a cat. Right now I’m also learning digital painting in Photoshop and writing a novel, which I hope to finish this year. I’m also a very creative cook and I grow my own chili peppers and herbs on my balcony.Fox Renderfarm: It's fantastic to see your work recognized with a 'Community Winner' at Polygoniq’s Dreamscapes Challenge! How does it feel to be celebrated for your achievements?Lynx095: It’s an amazing feeling. I honestly didn’t expect that I would win anything at all, as I’m an amateur and I’ve never participated in a 3D challenge or a competition. Polygoniq’s discord server is full of people who are far more skilled at animation than I am, many of them are professionals and are constantly posting beautiful works. Just being able to compete with them would be a great honor.Fox Renderfarm: Could you give us a brief overview of the project that won you the 'Community Winner' at Polygoniq’s Dreamscapes Challenge?Lynx095: In my animation, I was trying to create a feeling of experiencing a world that operates on dream logic, one that has its own consistent set of rules, but the dreamer as an outsider to that world will never be able to figure them out. I also wanted to show the dreamer's subconsciousness taking in things from the real world, like a car, childhood toys, food, etc., and rearranging them in a new and nonsensical way.Dream Journey © Lynx095Fox Renderfarm: What was the inspiration behind creating a world that operates on dream logic, with its own consistent yet unfathomable rules?Lynx095: Well, when I showed my animation to a friend, she asked me if I’m taking LSD, so I guess that…Just kidding. Honestly, that was the idea I got from the announcement where they said that the theme was “Dreamscapes”. This is what I took away from that and I expected that the other submitted works would be similar to mine. Only when the other submissions slowly started showing up in the Polygoniq Discord server, I realized that I was working on something very different from the other and I even panicked a bit thinking I had misunderstood the assignment. But I have always been interested in the topic of dreams and in the past, I’ve had lengthy conversations about dreams with friends, family members, and past partners.Fox Renderfarm: Can you walk us through the creative process behind your work, from conceptualization to final execution? Do you have a standard working pipeline?Lynx095: I don’t have any kind of standard pipeline, this was the first time I took on a project of this size and complexity. My creative process is very messy and chaotic, I was mostly figuring it out on the go. I created the scenes out of order, in fact, the first scene I finished and rendered was the one I ended up cutting from the animation completely. Sometimes I was working on one of the simpler scenes on my laptop while rendering one of the more complex ones on my more powerful PC. For my most complex scene, the one where the car is chased by forks, I had to make it twice. The first time I started by making a complex maze of slides and platforms before figuring out how the car would through the scene. That wasn’t working very well, so I decided to start from scratch. The second time I started with the movement of the car, including the drifting, and the single marble that is used for the wipe transition into the next scene. Then I added the animated forks, the maze, and the rest of the moving objects. The second version worked much better, as you can see in my final animation.As for the video as a whole, after I finished rendering individual scenes I stitched them together in Davinci Resolve, added a few fancy transitions, and license-free sound effects and music. I had to do all the video editing on the very last day of the challenge, so I feel like I could have found a music track that fits my animation much better if I had a bit more time.Video editing in DaVinci resolve © Lynx095Fox Renderfarm: How did you approach the concept of the "dreamer" as an outsider to the dream world, and how did you convey their perspective to the audience?Lynx095: I expected the audience to identify with the driver of the car, and I used the recurring motif of eyeballs to convey a feeling of constantly being watched, as well as the general nonsense of the environment that the scenes are set in. Also, the feeling that the car is constantly moving, always progressing from one absurd location to the next, and you can never know what you can expect in the next scene.Fox Renderfarm: Could you elaborate on the specific techniques or animation styles you employed to convey the feeling of experiencing a dreamlike state?Lynx095: For me, that was about combining the familiar with the unfamiliar and nonsensical. For example, in the first two scenes, the ones in the forest, I tried to make them look like scenes from a car commercial, where the car often drives through a forest or some other natural landscape. Then in the fourth scene, I took inspiration from car chase scenes in action movies. Except now it isn’t cops and gangsters speeding through a city, but a tiny car trapped in a child’s toy maze dodging falling forks.Fox Renderfarm: Can you elaborate on any challenges you encountered in designing and animating this short film? How did you address them?Lynx095: I am still learning, so almost everything was a challenge. The car model provided by Polygoniq as a condition to be used in the animation is the very first rigged model I have ever worked with. This project was also the first time I have used object constraints, path animation, shape keys, compositing, or explosion effects for when the car crashes into the giant cell phone. For an interesting example, all my scenes that used rigid body physics kept crashing when rendering frame 2. To solve this problem I extended the length of the animation to give my moving objects more time to settle into the scene. Then I restarted the render from frame 10 and cut the excess time from the beginning of each scene.Fox Renderfarm: Can you describe a particularly memorable moment or breakthrough in the project's development?Lynx095: The biggest breakthrough I had in this project was at the beginning when I checked my discord for notifications and noticed the announcement for this challenge in the Polygoniq channel. I immediately started getting all these crazy ideas, which convinced me to participate in the challenge in the first place. After that, my concept for the animation hasn’t changed much. The only creative decisions I had to make later were which ideas to cut to fit into the 1-minute limit for animation length. I have a “deleted scene” which still felt too fast at 12 seconds, so instead of slowing it down to make it work, I decided to cut it entirely and incorporate some of its elements into the other scenes.Still image from my deleted scene © Lynx095Fox Renderfarm: Are there any particular scenes in your work that you are particularly proud of or that viewers might overlook at first glance?Lynx095: I’m most proud of scene number 4, the one where the car is being chased by forks. It has almost 2000 individual 3D objects, many of which have active physics properties. To have continuous slides for the marbles to roll on and the car to drive on, I couldn’t rely on any kind of random scatter system for help, I had to place everything manually. I felt like my brain would burst by the time I finished the scene.As for the things viewers might not notice, I would like to direct your attention to the very last scene - the bedroom - where I tried to incorporate various elements from the dream. For example, the toy cubes on the carpet are not only the same as in the dream, they appear in the same order as the colors of the car in the animation - first blue, then yellow, then red. And the vines from the forest scenes, in the beginning, appear again as the plant on the nightstand. For that, I downloaded a free potted plant model from the blender kit, deleted the plant, and replaced it with my own vines.Car chase scene overview © Lynx095Fox Renderfarm: Could you share your experience using Fox Renderfarm's cloud rendering services for your projects? In what specific ways has Fox Renderfarm helped you with your projects? Have you found it to be useful and has it saved you significant time?Lynx095: I haven’t yet used Fox Renderfarm, nor any other render farm, but I’m looking forward to using your services in the future.Fox Renderfarm: Are there any other projects that you are currently working on that you would like to share with us?Lynx095: My success in this challenge has inspired me to finally try to make the leap from hobbyist to professional when it comes to 3D modeling and animation. Currently, I’m finishing my numerous works in progress and polishing my older projects to have some kind of a presentable portfolio.Fox Renderfarm: Could you share any insights or lessons you gained from creating this award-winning animation, particularly in terms of exploring the intersection of dreams, surrealism, and animation?Lynx095: Most importantly I feel like my skills have at least doubled while working on this project. And when it comes to this particular style, it’s definitely something I want to pursue further. What fascinates me about 3D art is that you can create anything from your imagination and make it look basically photorealistic. And I think that this combination of realism and absurdity is something that should be explored more.Thanks again to Lynx095 for accepting our interview! Wishing new heights in you and your team’s professional career!Lynx095’s social media:Instagram: https://www.instagram.com/spectral.lynx095/YouTube: https://www.youtube.com/@Lynx095ArtStation: https://www.artstation.com/lynx095

The second season of Sweet Tooth aired last year, and the final season will be available on Netflix on June 6 of this year. Based on Jeff Lemire's comic book series of the same name, the fantasy drama series, of which Robert Downey Jr. and Susan Downey are executive producers, stars Nonso Anozie, Christian Convery, Stefania LaVie Owen, Adeel Akhtar, Naledi Murray, Amy Seimetz, and Rosalind Chao.Image from NetflixImage from NetflixIn the final season, Gus, Jepperd, Wendy, and Bear set out for the icy wilderness of Alaska in search of Gus's mother, Birdie. There, they will encounter new challenges and threats, all leading up to the climax of the entire story.Check out the trailer:Source: NetflixIf you're interested in animation and visual effects, you might want to check out Fox Renderfarm - the leading cloud rendering services provider and render farm in the CG industry. Fox Renderfarm has provided cloud rendering services to countless visual effects and animation studios, allowing them to get the best quality results in the shortest time. A $25 free trial is available to let you speed up the rendering of your 3D projects.

For Transformers fans, the trailer released by Paramount Pictures for the animated film Transformers One is super-exciting news! As the eighth installment of the Transformers franchise, it is also the first animated feature film of the series. It is directed by Josh Cooley, written by Andrew Barrer, Gabriel Ferrari and Steve Desmond, and features a voice cast including Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, Keegan-Michael Key, Steve Buscemi, Laurence Fishburne, and Jon Hamm.Image from Paramount PicturesIn Transformers One, you will discover the untold story of Optimus Prime and Megatron and understand how they went from being good friends to archenemies.This September 20, Optimus Prime and Megatron are waiting for you in theaters.Check out the trailer here:Source: Paramount PicturesIf you're interested in animation and visual effects, you might want to check out Fox Renderfarm - the leading cloud rendering services provider and render farm in the CG industry. Fox Renderfarm has provided cloud rendering services to countless visual effects and animation studios, allowing them to get the best quality results in the shortest time. A $25 free trial is available to let you speed up the rendering of your 3D projects.